Collected Lute Solos of
Gregorius Huwet
&
Thobias Kühne
Lutenists at the Wolfenbüttel Court
revised and extended edition
edited by Sigrid Wirth and John H. Robinson
This edition is dedicated to Godelieve Spiessens
in recognition of her pioneering studies of Gregorius Huwet
Fig. 1: Huwet‘s signature of his contract, May 29, 1591
NLA-StA WF, 3 Alt, Nr. 324, Fol. 20 (detail).
Fig. 2: Robert Dowland, A Varietie of Lute Lessons, London, Thomas Adams 1610, Fantasies: Gregorio Huwet of Antwerpe
The Collected Lute Solos of Gregorius Huwet &
Thobias Kühne: Lutenists at the Wolfenbüttel Court
page
Introduction v
Editorial Method and Acknowledgements ix
Inventory and Critical Commentary x
Bibliography xix
Tablature 1-92
Contents
Fantasias
1a. Fantasia Gregorii Houuet D-Dl 1.V.8, ff. 94v-96r 1-3
1b. Fantasia Gregorij Houuet Denss 1594, ff. 68v-69r 4-6
1c. Fantasia Gregorio Huwet Dowland 1610, sig. G2r-G2v 7-9
2a. Fantasia Gregorii Houuet D-Dl 1.V.8, ff. 94r-94v 10-12
2b. Fantasia Fantasia Gregorij Howet Denss 1594, ff. 67v-68r 13-15
3a. Fantasia D-LEm II.6.15, pp. 56-8 16-17
3b. Fantasia Graegorij D-Hs ND VI 3238, pp. 103-104 18-19
4a. Fantasia Gregorij D-LEm II.6.15, pp. 52-53 20-21
4b. Ricercha di Francesco da Milano - Ness 33 B-Br II.275, ff 71v-72v 22-24
5a Fantasia Gregorij Houuet D-Dl 1.V.8, ff. 43v-44r 25-27
5b. A Fancy John Dowland - DowlandCLM 7 GB-Cu Dd.9.33, ff. 6v-7v 28-30
Pavans
6a. Pavana Gregorij Huberti Rude 1600, ff. gg5r-gg5v 32
6b. Lachrimae Pavan John Dowland - DowlandCLM 15 GB-Lbl Add.6402, f. 1r 33
6c. Pavana Dullande D-Kl 4o Mus.108/I, f. 92v 34
6d. Pavana Repondens Lachrimae Tobias Kün Fuhrmann 1615, p. 62 35
7a. Pavana Gregorij Huuett S-Sr 36
7b. Pavan Gregorij Huberti Rude 1600, ff. hh6v-ii1r 37
Galliards
8. Galliard Huewet - in duple time D-LEm II.6.15, p. 193 38
9i. Galliard in G minor
9i-a. Galliarde Monsieur Gregorij B-Bc 26.369, ff. 15v, 12r, 13r 38-39
9i-b. Galliarda Gregorij S-B 2245, ff. 5v-6r 40
9i-c Galliarda Gregorij Huwet D-LEm II.6.15, pp. 212-213 41
9i-d. Gagliarda Gregorij Huberti Rude 1600, sigs. hh2r-hh2v 42
9i-e. Galiarda D-BAU 13.4°.85, f. 35r 43
9i-f. Galliarda Gregorij D-LEm III.11.26, f. 8r 43
9i-g. Untitled LT-Va 285-MF-LXXIX, f. 42r 44
9i-h. Galliarda Gregoris D-KNh R.242, f. 129v 44-45
9i-i. Galliarda Anglica DK-Kk Thott 841,4o, f. 110r 45
9i-j. Galliarda Dulandi LT-Va 285- MF-LXXIX, f. 66r 46
9i-k. As I wente to Walsinghame US-NHub Dep.1, f. 17r 46-47
9i-l. Untitled GB-Cu Dd.2.11, f. 29r 47
9i-m. Johan Doulandt Gailliard LT-Va 285-MF- LXXIX, f. 24r 48
9i-n. Galiarta Zasij Tertius Modus D-Ngm 33748/I, ff. 69v-70r 49
9ii. Galliard in C minor
9ii-a. Galiarde D-K K16a6745qu., f. 12r 50
9ii-b. Gagliard Anglica I-Gu M.VIII.24, ff. 119v-120r 51
9iii. Galliard in F minor
9iii-a. Galliarda Englessa A-Lla 475, f. 95r 52
9iii-b. Galliarda Gregorij D-B 40141, f. 61r 52-53
9iii-c. Galiard D-BAU 13.4°.85, f. 33r 53
9iii-d. Untitled D-LEm II.6.23, ff. 36v-37r 54
9iii-e. Galliard D-B N 479, ff. 62v-63r 55
9iii-f. Galiarta Zasij D-Ngm 33748/I, f. 68v 56
9iii-g. Galiarda Secundus Modus D-Ngm 33748/I, f. 69r 56-57
9iii-h. Galliarda Zas A-SPL KK35, p. 37 57
9iii-i. Galliard Gregorj D-Ngm 33748/I, f. 14v 58
9iv. Galliard in D minor
9iv-a. Gagliarda Tobiae D-Dl 1.V.8, f. 51r 59
9iv-b. Galiarda Tobiae Kuhnen D-LEm II.6.15, p. 187 59
9iv-c. Galliarda Tobias Kün Fuhrmann 1615, pp. 110-111 60
9iv-d. Galliarda Gregorij D-Ngm 33748/I, f. 2v 61
9iv-e. Galliardae Gregorij Huberti variatio prima Rude 1600, sig. gg6v 62
9iv-f. Galliardae Gregorij Huberti Variatio secunda Rude 1600, sigs. gg6v-hh1r 63
9iv-g. Untitled D-B 4022, f. 47r 64
9v. Untitled arranged for cittern GB-Cu Dd.14.24, ff. 45v-46r 65
9vi. Galliard John Dowland - DowlandCLM 31 GB-Cu Dd.5.78.3, f. 37r 66
10a. Galliarda Gregorij D-LEm II.6.15, p. 198 67
10b. Galliarda Anglica Dulandi - DowlandCLM 40 LT-Va 285-MF-LXXIX, f. 22v 67
11a. Galliarda Gregorij D-LEm II.6.15, p. 235 68
11b. Gagliarda Rude 1600, sig. hh2v-hh3r 68-69
11c. Untitled - DowlandCLM 22 GB-Cu Dd.2.11, f. 56r 69
12ai. Gagliarda Gregor D-Dl 1.V.8, f. 46v 70-71
12aii. Untitled D-Dl 1.V.8, f. 46v 71
12b. Delight Galyerd John Johnsonn - JohnsonB 6 GB-Lbl Eg.2046, f. 32r 72
13a. Galliarda Gregorii D-B 40141, f. 239r 74
13b. Galliarda Anglica D-KNh R.242, ff. 136v-137r 74-75
13c. Galiarta Pipers D-Ngm 33748/I, f. 65v 75
13d. Galiarda Pipers D-BAU 13.4o.85, p. 31 76
13e. Galliarda Fuhrmann 1615, p. 121 76
13f. A Galliard John Dowland - DowlandCLM 42 Barley 1596, sig. B4v 77
14. Galliard Gregorij Ansini D-LEm II.6.15, p. 199 77
15. Galliard Hagius 1616, no 38 -
Appendix
App. 1. Fantasia D-Hs ND VI 3238, pp. 102-103 78-79
App. 2. Fantasia D-LEm II.6.15, pp. 54-55 80
App. 3a. Praeludium Mertel 1615, p. 36 81
App. 3b. Untitled B-D 4022, f. 43r 82
App. 3c. Fantazia PL-Kj 40641, ff. 4v-5r 82-83
App. 4. Fuga super Verleih uns friedt Tobiae Khühn D-Dl 1-V-8, ff. 42r-42v 84-85
App. 5a. Pavana Thobias Kühne Rude II 1600, sigs. hh3r-hh3v 86
App. 5b. Padoana Rude II 1600, sigs. gg1v-gg2 87
App. 6. Galliarda Tobias Kün Fuhrmann 1615, p. 111 88
App. 7. Galliarda Tobias Kün Fuhrmann 1615, pp. 118-119 89-90
App. 8. Fuga D-Kl 4o 108/I, ff. 9v-11r 90-92
Introduction
Gregorius Huwet (also Howet, Howett, Hubert, Huet) served Duke Heinrich Julius of Braunschweig and Lüneburg as court lutenist for more than 25 years, from May 1591 until his death in late 1616. Most biographical data[1] and some of his compositional work[2] have long remained in the dark. As he did not publish any of his compositions himself (indeed, in his secure position as a lutenist at the Wolfenbüttel Court there was no need for him to do so), there is scarcely any biographical evidence from dedicational texts, and local archival research of the Wolfenbüttel court records was undertaken only in recent years.[3] As far as we know from Godelieve Spiessens’s thorough research into Huwet’s early years,[4] he was born sometime before 1560 to a lutenist of the same name in Huy near Lüttich in the Netherlands, now Belgium. The family moved to Antwerp where Huwet’s father was granted citizenship in 1560 and he lived there until the early 1580s. It seems likely that Huwet junior was taught to play the lute by his father. From his compositions, most of all his high-quality Fantasias, we can assume he received a well-grounded education in music theory.
The first documentary evidence of Gregorius Huwet as an already accomplished lutenist is found in Diederich Graminaeus’s description of the opulent wedding festivities of Duke Johann-Wilhelm zu Jülich-Cleve-Berg and Margravine Jacoba von Baden in Düsseldorf in June 1585. Huwet’s name is mentioned repeatedly and he is depicted playing his lute in an ensemble during a banquet and in a mummery, clad in allegorical costume (figs. 3 and 4).[5]
Afterwards, Huwet seems to have returned to Antwerp as he was still listed as citizen in 1588. The radical political-religious changes in the Netherlands, with the siege of Antwerp by Spanish troops in 1584-85, and subsequent economic ruin under Spanish rule of the once-thriving city caused an exodus of more than 40,000 citizens after 1585. We can well imagine that these hard times must have been of major consequence for Huwet and his family as well. He may have spent some time in Cologne, where Adrian Denss’s Florilegium containing two of Huwet’s fantasies was published in 1594.[6]
Duke Heinrich Julius of Braunschweig and Lüneburg (1564-1613) was heir to a duchy of considerable territorial and financial wealth. Situated in Northern Germany, the duchy drew its wealth from mining and lumbering in the nearby Harz Mountains and from inherited estates. Several members of the ducal family, Heinrich Julius and his father Duke Julius among them, played the lute or cittern. Heinrich Julius’s high esteem especially of lute instruments becomes obvious in their repeated use as signifiers of amorousness, unspeakable truth and nobility in his own dramatic works, written in the early 1590s. A troupe of English Comedians brought these plays to the stage, adding to them music on lutes, citterns and the only recently invented bandora. In Heinrich Julius’s tragedy, Von einem Buler und Bulerin (1593), a lutenist “Gregorius” is named among the partaking musicians, probably referring to Huwet.[7]
In 1590 Duke Heinrich Julius’s marriage brought along increasing cultural demands at the Wolfenbüttel court. His consort, Elisabeth of Denmark, eldest daughter of King Frederic II of Denmark and Sophie of Mecklenburg, was sister to Christian IV, heir to the Danish throne, and to Anna, married to King James VI of Scotland, later James I of England.[8] It was at this court of one of the most distinguished patrons of the arts in German lands that Huwet was employed as something of a status symbol in courtly representation, conveying an image both of princely superiority and of cultural excellence. Huwet arrived in Wolfenbüttel for the festive occasion of the baptism of Heinrich Julius’s first born son, Friedrich Ulrich, in May 1591. His appointment as Duke Heinrich Julius’s court lutenist soon after, signed under oath on May 29, was a contract not unusual for the time. Because he signed his contract as 'Gregorius Huwet' (fig. 1), we suggest this version of his name be used in future references. Huwet was bound to his sovereign for an unlimited time. After Heinrich Julius’s death in 1613, Huwet was re-appointed to the court of Duke Friedrich Ulrich. As every court employee, Huwet was obliged to abide by the court rules and his sovereign’s religious orientation. Huwet was the only court musician granted constant admission to the Duke’s private chambers. As Heinrich Julius’ personal lutenist, he was required to be at service at any time and to accompany the Duke on all his travels. Huwet’s status was clearly superior to that of his predecessor, lutenist Thobias Kühne.[9]
Thobias Kühne (also spelt Kuhn, Khüne, Kün) was born in Halberstadt in 1564. After ending his studies at the universities of Helmstedt and Wittenberg, he entered court service to Julius Duke of Brunswick (1568-1589) at the Wolfenbüttel residence on November 15, 1587. He was appointed as a singer and lutenist at the court chapel with access to the Duke’s privy chamber on demand. Paid poorly, he had to assist as scribe in the court’s administration offices in addition to his musical duties. His position was generally that of an apprentice to the chapel master. He had to leave court due to financial cuts and the mourning period following the death of Duke Julius in 1589.
Huwet, in his position as Master of the Lute ('Lautenmeister') on the other hand, was exempted from playing in the court chapel and earned the highest salary of the court musicians after the Kapellmeister, Michael Praetorius. In the autumn of 1594, Huwet met John Dowland who visited Wolfenbüttel during the re-inaugural celebrations of the Duke’s newly refurbished residence in Gröningen. Huwet and Dowland together travelled to the Kassel Court for the christening celebrations of Landgrave Moritz’s first born son Otto in January 1595.
Over the many years of successful and loyal service to the Wolfenbüttel Dukes, Huwet was presented with gold chains and pendants, a beaker of gold, money, horses with carriage, and valuable lutes. Duke Heinrich Julius granted to Huwet a house and property in the town of Halberstadt in December 1595 in order to tie him closer still within his sphere of influence and adding another strong bond to their relationship. The possession of this estate, worth an exorbitant 1800 guilders (up ten times the cost of a normal city house) was limited to the duration of Huwet’s life or his service to the court. In June 1597, Huwet’s marriage to Marie Alemann, a daughter of an influential patrician family from the Madgeburg-Halberstadt region and a ward of the Duke, brought about a further rise in social status for the lutenist. The Duke himself stood godfather to their son Heinrich Julius in March 1600.
In the chamber receipts, Gregorius Huwet is mentioned several times as recruiting musicians, for instance from the Netherlands (his brother Octavianus among them), for the court chapel, which even resulted in a predominance of Netherlandish musicians in the court chapel of the late 1590s. He had evidently retained his professional contacts and was able to make good use of them.
Before Huwet came to Wolfenbüttel, he had already acquired experience of the whole range of musical duties at the Düsseldorf court.[10] In addition to proving his skill as a composer of lute music, this knowledge of representation must have appealed as a most precious commodity to Heinrich Julius. Presenting a court lutenist - in the sense of a soloist of privileged position - to visitors was unique in German lands at that time. The appeal of this powerful position becomes obvious through the fact that the dynastically related courts of Dresden and Copenhagen sent lutenists to Huwet to get their soloist’s training.[11] Apart from that, there is strong evidence that Huwet tutored the ducal family and some of their noble guests.[12]
Obtaining permission from the Duke to leave the court often proved somewhat difficult for the musicians of the court chapel and other court servants. Apart from Praetorius, only Huwet was allowed to travel on private matters, which he did in advisory capacities to music printers and lutenists (Matthaeus Reymann and Johann Rude) in Leipzig.[13] He travelled repeatedly to the Leipzig fairs to purchase lutes for the court musicians, his pupils and himself. As personal lutenist to Heinrich Julius, Huwet travelled with him between the court’s residences, and to Prague, where the Duke assumed the post of Privy Counsellor to Emperor Rudolph II. In July 1613, when Heinrich Julius fell mortally ill in Prague, he summoned some of his musicians, probably Huwet among them, to console and soothe him with soft music in his final hours. The Duke bequeathed a sum of 1800 Guilders to Huwet for his devoted and long-time service.
In the years following Heinrich Julius’ death, after Michael Praetorius had been seconded to the courts in Dresden and Halle, Huwet earned his highest salaries, indicating his important position in organising the music at court. After Huwet’s death in late 1616,[14] the position stayed vacant for some time. Although it was reoccupied eventually, Huwet remained the only 'star'-lutenist at the Wolfenbüttel Court. Victor de Montbuisson, then lutenist at the Kassel Court of Landgrave Moritz von Hessen-Kassel, applied for the post unsuccessfully.
Only a small number of Huwet’s compositions survive in prints and manuscripts.[15] In a letter to Duke Heinrich Julius in March 1595, Landgrave Moritz, reflecting on Dowland’s and Huwet’s recent visit to Kassel, recalls Huwet’s skill at intabulating madrigals and motets.[16] Most of Huwet’s compositions were never published, nor were they necessarily intended to be, but they remained his exclusive property. Huwet’s abilities as a performing virtuoso were, after all, the most important part of Huwet’s job.
Only a small body of compositions ascribed to Huwet are known, amounting to five fantasias, two pavans and eight galliards (one titled galliard but in duple time). All the ascribed music is for renaissance lute in vieil ton tuning, except for the galliard no. 15, which is known from a now incomplete four-part setting for instrumental ensemble found in Conrad Hagius' Newe künstliche Musicalische published in Nürnberg in 1616. Furthermore, of the fifteen surviving works, several are known to be works by other composers: no. 4 is a fantasia by Francesco da Milano, no. 5 is a fantasia by John Dowland, and of the galliards, no. 12 is a galliard by John Johnson, nos. 10 and 11 are based on Dowland's First galliard and King of Denmark galliard, and the Walsingham galliard is ascribed to Dowland in two sources and appended Anglica or Englessa in another three sources. Finally, the unique source of no. 14 bears the ascription Gregory Ansini, which is assumed here to refer to Huwet as Ansini may be a corrupted reference to Antwerp.
Six lute compositions are ascribed to Kühne: a fuga, two pavans and three galliards. But of these, the fuga is very much in the style of Huwet's famous fantasia and even has a very similar theme, and one of the pavans is based on Dowland's Lachrimae and is titled Respondens Lachrimae T. K. in one source but ascribed to Dowland and Huwet in the other two sources. Also, of the galliards, one is a pastiche of the first strain of Huwet's Walsingham galliard and the second from a galliard by Dowland. Another galliard is titled simply Gagliarda but with two different page headings, one Galliarda T. K. and the other Galliarda incerti Authoris (that is author uncertain).
This edition brings together all the known sources of the music ascribed to Huwet and Kühne, adding four examples of anonymous fantasias that include sequences of figuration similar to those found in Huwet's fantasia no. 1, with the suggestion that Huwet was imitating a generic trend found in contemporary fantasia composition, rather than that he is likely to have composed the anonymous fantasias. It is also suggested that the large number of versions of Huwet no. 9 in several different keys reflects the wide popularity of the Walsingham galliard. The many distinct settings of this galliard, including one for cittern and three for keyboard, were presumably arrangements made by a variety of different lutenists and composers including the pastiche ascribed to Kühne. However, it is not certain which is Huwet's own setting, nor certain that he composed the original rather than arranging a pre-existing galliard.
Although limited in number, Huwet’s compositions and their sources can tell us much about the activities within the wide-spread political, dynastic and musical networks of the Wolfenbüttel ducal court in the years around 1600. Like a multi-faceted mirror, his music reveals not only his Dutch origin and his models, but the communication and interaction with contemporaries and colleagues. These include Thobias Kühne and John Dowland as well as musicians of neighbouring courts in Bückeburg (Kapellmeister Conrad Hagius), Kassel, Dresden, and Copenhagen.[17] On the basis of stylistic similarities between compositions ascribed to Huwet and Kühne, sustained contact (both of them were citizens of Halberstadt after all) seems very likely.[18] The striking number of versions of the galliard ascribed to Huwet that uses the Walsingham tune in the first strain suggest a certain regional popularity of this galliard.[19]
The musical echoes of the encounter of Huwet and John Dowland, described by J. M. Ward as having been 'a memorable one',[20] can be heard in many of Huwet’s compositions containing parts of Dowland’s own music. In his First Booke of Songes or Ayres (London, 1597), Dowland mentions Huwet as an 'excellent master' and praises him (alongside Alessandro Orologio) “for their loue to me, as also for their excellency in their faculties”. In 1610, John Dowland’s son Robert published a collection of lute music A Varietie of Lute Lessons. He included a Fantasia by Gregorius Huwet (copied from Adrian Denss’s Florilegium), who is lauded in the title as 'the most famous Gregorio Huwet of Antwerpe: Lutenist to the most high and mightie Henericus Iulius, Duke of Brunswicke, &c.' (fig. 2).
Sigrid Wirth - April 2018
Editorial Method
This edition is a revised and expanded version of The Collected Lute Solos of Gregory Howet published by Tree Edition in 1998 to contain all the known versions of music ascribed to Gregorius Huwet in addition to the music of Thobias Kühne and an appendix of related items. The original edition included only a selection of sources of music ascribed to Huwet, but added other galliards based on the Walsingham tune, which have been omitted here. The original sources are notated in French, German or Italian tablature with a variety styles of rhythm signs (flag, grid, mensural), standardised here to French tablature with flag rhythm signs using Wayne Cripps tablature-setting program TAB version 4.3.70 running in system OS X (10.13.1) on an Apple iMac. Dots under tablature letters indicating right hand fingering have been included together with tenuto signs and ornaments where they appear in the original. Apparent errors and omissions in the original tablature have been changed editorially and double bar lines added when lacking in the original to clarify the sectional structure of the music. The critical commentary details the numbers of courses on the lute below the 6th with their tuning, the sectional structure of the dances and lists all editorial changes, their location indicated by bar number and position in the bar followed by letters for the fret and numbers for the course on the lute (for example 1/1 a1c2d3a5 refers to a chord of open 1st course, 2nd fret on 2nd course 3rd fret on the 3rd course and open 5th course, and c1-d1-f1 refers to a melodic phrase of 2nd, 3rd and 5th fret). The sources are abbreviated in the commentary using publisher's names and date for prints and RISM sigla for manuscripts, expanded in the bibliography, followed by modern editions and url for online facsimiles when available. The use of repeat signs at the end of each section is irregular in the sources and all repeats have been omitted, leaving the choice of repeats to the discretion of the player.
Acknowledgements
Thank you to Wayne Cripps for permission to use the TAB programme version 4.3.70 to set the tablature for this edition. The following illustrations are included with permission:
Cover: Matthäus Merian: Topographia und Eigentliche Beschreibung Der Vornembsten Stäte, Schlösser auch anderer Plätze und Örter in denen Hertzogthümer[n]Braunschweig und Lüneburg, und denen dazu gehörende[n] Grafschafften und Landen, 1665/1658, Fürstl: Brunsw: Lüneb: Residentz Statt und Vestung Wolfenbüttel (detail), private collection, photo: S. Wirth.
Figure 1. (p. ii): Gregorius Huwet‘s signature of his contract, May 29 1591, NLA-StA WF, 3 Alt, No. 324, fol. 20 (detail).
Figure 2. (p.ii): Robert Dowland, A Varietie of Lute Lessons, London, Thomas Adams 1610, Fantasies: Gregorio Huwet of Antwerpe, public domain.
Figure 3. (p. 31): Diederich Graminaeus, Fürstliche Hochzeit so der Durchlauchtig hochgeborner Furst und Herr, her Wilhelm Herzog zu Gulick Cleve vnd Berg Graff zu der Marck vnd Ravensberg, Herr zu Rauestein & dem Durchleuchtig hochgebornen Fursten vnd hern,Anno Dni 1585, am 16. Juni, Köln 1587. HAB: A: 274.4 Hist. 2°(1), illustration No. 5 (detail).
Figure 4. (p. 31): Ibidem: Graminaeus, Fürstliche Hochzeit, HAB: A:274.4 Hist. 2° (1), illustration No. 35 (detail).
Figure 5. (p. 73): Caspar Merian, copperplate after Conrad Buno, 1654, Das Fürstl. Schloss in der Vestung Wolffenbüttel (detail), private collection, photo: S. Wirth.
Inventory and Critical Commentary
1. Fantasia
Four sources of Huwet's famous fantasia are known, but two were considered lost. The location of the Chilesotti manuscript remains unknown, but the so-called Joachim vom Loss lute book has now become available through the rediscovery of photographs of the manuscript and so the Huwet fantasia can be reproduced and compared with the others here. The three surviving versions are nearly identical, and the Loss lute book provides the solution to printing errors found in the other two sources.
1a. D-Dl 1.V.8, ff. 94v-96v Fantasia alia aegdem
[Gregorii Houuet]
German tablature with each stave copied across two pages
7th course tuned to F
5/<1 c2a3-c3 crossed out
10/6 a2 instead of a1
17/11 e1 crossed out
44/3 f6 crossed out
49/9-10 bar line added
54/9 e6 crossed out
62/ 2-3 blot crossed out
64/9 c5 crossed out
69/1 rhythm sign absent
1b. Denss 1594, ff. 68v-69r Fantasia alia eiusdem [Gregorij Howet]
7th course tuned to F
11/16 e4 instead of c4
21/3 c5 instead of e5
33/5 f6 instead of c6
35/1 to 36/4 crotchets instead of minims
37/2 to 38/4 minims instead of crotchets
68/2-15 quavers instead of semiquavers
69/1 rhythm sign absent
1c. Dowland 1610, sigs. G2r-G2v Fantasia 5 [header: Composed by the most famous Gregorio Huwet of Antwerpe: Lutenist to the most high and mightie Henricus Iulius, Duke of Brunswicke, &c. (see Fig. 2, p. ii)]
7th course tuned to F
14/5 a4 instead of a3
22-23 & 35-36 bar lines absent
35/1 to 36/4 crotchets instead of minims
67/4 c6 absent
cf. I-BDGchilesotti, p. 16 untitled - although the manuscript is now lost, Oscar Chilesotti listed this as a source of Huwet's fantasia without including the music in his modern edition of the manuscript (see bibliography).
2. Fantasia
Two sources of this fantasia are known, both ascribed to Huwet. The version of this fantasia in the Loss lute book It is nearly identical to the version in the print of Denss, and can now be included in this edition.
2a. D-Dl 1.V.8, ff. 94r-94v Fantasia Gregorii Houuet
German tablature with some staves copied across two pages
7th course tuned to F
curved line/comma to right of lower ciphers at 8/4, 22/7, 28/2, 28/7, 29/3, 30/2, 30/3, 30/4, 30/8, 31/2, 31/3, 32/13 & 40/3
11/3-4 & 11-12 bar lines crossed out
21/5 scribe changed c3 to b3
25/4-11 semiquavers absent
33/9 b3a6 are crossed out
33/11 b2 crossed out
34/3 scribe changed c4 to c5
36/6 b3 instead of b2
41/2-3 scribe changed b3-b2 to b2-b3
41/15 cipher for c5 not clear
49/2-3 c5-e5 instead of c4-e4
56/between 14-15 d1 crossed out
57/between 4-5 b3 crossed out
60/3 a4? crossed out
61/8 e4 instead of c4
62/between 10-11 c1 crossed out
63/between 10-11 c4? crossed out
2b. Denss 1594, ff. 67v-68r Fantasia Gregorij Howet
7th course tuned to F
13/11 a2 instead of c2
21/5 h3 instead of b3
25/11 f4 instead of e4
52-53 bar line absent
61/8 e4 instead of c4
64/15 c1 absent
3. Fantasia
Two sources of this fantasia are known but only one is ascribed and they differ significantly. The first 30 or so and last 40 or so bars are nearly identical, but the material in between is different and much extended in no. 3a.
3a. D-LEm II.6.15, pp. 56-58 Fantasia 10
German tablature
7th course tuned to F
13-20 semibreves instead of minims
24-25, 62-63 & 75-76 bar line absent
41/4 quaver displaced a note to the left
67/1 a4 instead of a3
68/6 a2 instead of c2
between 76-77 a bar repeating 77/1 to 78/4 (except 1st note is e5 instead of e4, 5th note lacks a4 under d2 and 10-12th notes are a2-a2-c2 instead of d2-c2-a2)
78/5 a5 instead of a4
79/1 crotchet d2a3a4a7 duplicated
89/4-5 crotchet and quaver displaced a note to the right
90/1-2 quavers instead of crotchets
94/6-9 quavers instead of semiquavers
3b. D-Hs ND VI 3238, pp. 103-104 Fantasia Graegorij
7th course tuned to F
10/2-3 minims instead of crotchets
12/1 a3d4c5 instead of d3c4
21/1 d2 instead of d3
23-24, 45-46, 63-64 & 76-77 bar lines absent
27/1 a1c2d3 instead of a2d3c4
32/1-8 crotchets instead of quavers
32/4 c2 absent
41/5 a6 instead of a7
45/3-4 bar line added
46/3-4 & 49/3-4 bar lines crossed out
48/5-6 crotchets instead of quavers
57/5 c3 instead of f3
64/2 c6 instead of c5
65/2 a4 instead of a3
66/2 b3a6 instead of a5
67/3 d6 beneath following a3
72/4-5 quavers instead of crotchets
78/1 rhythm sign absent
4. Fantasia
Although ascribed to Huwet, no. 4a is clearly a corrupt and abbreviated version of Francesco da Milano's most famous fantasia, a version of which is included as no. 4b.
4a. D-LEm II.6.15, pp. 52-53 Fantasia Gregorij 8
German tablature
time signature absent
incomplete with omission of bars 4-6 & 64-105 of 4b
6/1 to 7/3 3 crotchets 2 quavers instead of 3 minims 2 crotchets
6-7, 11-12, 12-13, 24-25, 32-33, 48-49, 56-57, 69-70,
71-72, 75-76 & 79-80 bar lines absent
8/1 a2 instead of e2
12/3 a3b3c5 instead of a3c4c6
17/1-4, 26/1-4, 45/6, 47/1 to 48/4, 60/1-4, 74/1-4 & 78/1 to 79/4 crotchets absent
25/1 b2 instead of b3
28/2-5, 38/5-6, 88/3-6 quavers absent
43/1 quaver instead of crotchet, b2 absent
47/4 b4 instead of c4
54/2 c5 vertically instead of horizontally
aligned with preceding c1
56/1 to 57/4, 63/1-4 & 83/1-4 quavers instead of crotchets
56/3, 59/3, 87/3 & 89/3 - quavers displaced a note to the left
62/3 c4 instead of a4
67/1-2 & 77/1-2 minims absent
69-70 6 quavers instead of 4 crotchets 2 minims
75/1 to 76/4 2 crotchets 4 quavers instead of 2 minims 4 crotchets
88/6 crotchet instead of quaver
4b. B-Br II.275, ff. 71v-72v Ricercha di Fr(ancesco) de Milano - Ness 33
Italian tablature
time signature absent
4/1 a3 instead of a2
6/1 a3 instead of a2
8/1 b4 instead of b3
8/1-2 bar duplicated but omitted here (b4 added on first chord)
43, 73, 74, 87-100 & 140 dots under letters irregular and standardised editorially
44/1 d1 absent
45 bar duplicated but ending in b2 not c2 omitted here
64/1-4 c1-a4-d3-a3 instead of c1a4-d3-a3-b3
79/2 c3 added
85 bar duplicated but omitted here
86/1-2 c1-a1 absent
140-141 bar line absenr
141/1 fermata above semibreve instead of fermata
5. Fantasia
This fantasia from the Loss lute book is ascribed to Huwet but was recently identified by Joachim Lüdtke as virtually identical to a known fantasia by John Dowland, a version of which is included as no. 5b.
5a. D-Dl 1.V.8, ff. 43v-44r Fantasia Gregorij Houuet
7th course tuned to D
1/5 minim crossed out
3/9-10 d3e4-a2b3 absent
13/11 a5 beneath previous a1 instead
15/7 d6 beneath previous a1 instead
26/4 b4 absent
32 rhythm diff to 5b and bar lines displaced from here to end
37 bar omitted and inserted in the margin at the bottom of the page
39/7 something crossed out above d2
46/4 quaver absent
63/5 a3 instead of a4
71/1 semibreve instead of dotted semibreve
77/8-9 bar line crossed out
79-80 bar line absent
5b. GB-Cu Dd.9.33, ff. 6v-7v A Fancy Jo Dow(land) - DowlandCLM 7
GB-Gu Euing 25, ff. 35r-36r untitled
7th course tuned to D
4-5, 14-15, 24-25, 41-42, 44-45, 53-54 bar lines absent
6/16 d2 crossed out
14/4 scribed changed c5 to d5
20/ 8-9 c5 crossed out
36/2-3 scribe changed 2 crotchets to 2 minims
42/13 d1 absent
61 time signature 6i
61-65 quavers instead of crotchets
62/3 scribe changed b5 to c5
67 time signature absent
68/15 c4 instead of d4
70/between 7-8 a3 added and washed out
76/1 semibreve followed by fermata
instead of fermata
6. Pavan
This pavan is a parody on the Lachrimae pavan by John Dowland (see no. 6b), and nos. 6c. and 6d. are nearly identical but significantly different to no. 6a. The three sources are ascribed to three different composers, Huwet, Kühne and Dowland. The manuscript version is probably only ascribed to Dowland by association with his Lachrimae pavan, but we are left unsure whether Huwet or Kühne composed the parody.
6a. Rude 1600, sigs. gg5r-gg5v 90 [index: Pavana à 5.voc. Gregorij Huberti]
time signature absent
7th course tuned to F and 8th to D
three strains of 6, 6 & 10 bars
2/3 crotchet instead of quaver
3/1 a2 instead of a1
6/11 semibreve absent
12/3 b6 instead of b7
12/5 a7 and fermata instead of a8 and semibreve
6b. GB-Lbl Add.6402, f. 1r Lacrame (John Dowland)
Dowland CLM 15 Lachrimae Pavan
time signature absent
three strains of 8, 8 & 8.5 bars
8-9 double bar line absent
12-13 bar line absent
14/6-7 crotchets instead of quavers
20/2 quaver instead of crotchet
24/9 dotted quaver instead of dotted crotchet
24-25 bar line 7 notes to the left
25/3 fermata above minim instead of fermata
6c. D-Kl 4o Mus.108/I, f. 92v pauana dullande
time signature absent
7th course tuned to F
three strains of 6.5, 6 & 11 bars
6-7 & 20-21 bar lines absent
13/3 /a (b8) instead of a (b7)
19/9 a6 instead of d6
23/12 minim instead of crotchet
24/1 semibreve with fermata above double bar line instead of fermata
6d. Fuhrmann 1615, p. 62 Pavana septima. [header: Respondens Lachrimae, T. K.]
time signature absent
7th course tuned to F and 8th to D
three strains of 6.5, 6 & 11 bars
6-7 & 20-21 bar line absent
13/3 /a (b8) instead of a (b7)
19/9 a6 instead of d6
21/2-3 quavers instead of crotchets
7. Pavana
The two sources of this pavan are both ascribed to Huwet and differ in details of figuration. The source of no. 7a was found recently by Stina Karlgren of Umea University as a page of tablature inserted into an unrelated printed book in the Riksarkivet in Stockholm although the identity of the book was not recorded. The page was photographed and a copy kindly sent to the editors by Kenneth Sparr.
7a. S-Sr Pauana Gregory Huuett
7th course tuned to F, 8th to E, 9th to D and 10th to C
three strains of 7, 5.5 & 14 bars
1/1, 2/1, 3/9 & 27/1 a5 absent
2/4-5 crotchets absent
2/7-9 quaver 2 semiquavers instead of
dotted quaver 2 demisemiquavers
2-3, 9-10, 11-12, 14-15 & 16-17 bar lines absent
5/5-6 quavers instead of crotchets
5/8 //a (a9) washed out
8/16 m1 instead of n1
10/4-7 semiquavers absent
15-16 bar line 2 notes to the left
16/6-11 quavers absent
27/1-2 rhythm signs absent with fermata above double bar line instead of minim fermata
7b. Rude 1600, sigs. hh6v-ii1r 109 [index: Pavana G. H.]
7th course tuned to D and 8th to C
three strains of 13, 11 & 17 bars
1-2, 3-4, 5-6, 7-8, 9-10, 10-11, 12-13, 18-19, 19-20, 21-22, 25-26, 27-28, 29-30 & 39-40 - bar lines absent
6/3 a7 instead of a8
9/5 to 10/4 crotchets absent
11/7 & 30/7 b3 instead of a3
15/8 crotchet a note to the left
24/1 fermata instead of semibreve
36/3 c2 instead of d2
8. Galliard
The unique source of this piece is titled galliard and ascribed to Huwet but is in duple time with two strains of 7 bars each, reconstructed to 8 bars each.
D-LEm II.6.15, p. 193 Galliarda Huewet 7
German tablature
time signature absent
7th course tuned to F
two strains of 8 bars
1/2 a5 instead of d4
1/4 c1 instead of b1
2/4-5, 11/1-3, 12/3 to 13/4 & 14/3 crotchets absent
2/5 a5 instead of a4
5 bar absent
6/1 crotchet instead of dotted crotchet
6/3 crotchet displaced a note to the right
7/1-4 quavers absent
8/1 fermata instead of dotted minim
8-9, 9-10, 11-12, 12-13 & 14-15 bar lines absent
9/4 h6 instead of g6
16/1 semibreve instead of fermata
9. Galliard
All the sources of the Walsingham galliard that is most often ascribed to Gregorius Huwet are included here, arranged by key. All versions follow the same three strains, except some of those in D minor, described below. It is assumed that the great diversity of settings were made by a variety of lutenists and composers based on an original galliard thought to have been composed by Huwet. A different galliard on the Walsingham tune by John Dowland is included for comparison.
9i. in G minor:
Of the fourteen settings in G minor (assuming a lute in nominal G pitch), six are ascribed to Huwet.
9i-a. B-Bc 26.369, ff. 15v, 12r, 13r Galliarde Monsieur Gregorij
common instead of triple time signature
7th course tuned to F and 8th to D
three strains of 8, 8 & 11 bars with divisions
3-4, 11-12, 15-16, 20-21, 28-29, 36-37 & 45-46 bar lines absent
22 crotchet 2 minims crotchet instead of minim 2 crotchets minim
54/4 minim with fermata above double bar line instead of fermata
9i-b. S-B 2245, ff. 5v-6r Galliarda Gregorij
7th course tuned to F and 9th to D
three strains of 8, 8 & 11 bars
2/1, 8/1 & 27/1 minims instead of crotchets
2/8, 8/8 & 14/5 crotchet instead of minim
14/3-4 quavers instead of crotchets
26/1 a1c2d3 absent
26/2 crotchet instead of quaver
26/9 e2 absent
27/8 & 28/1-6 crotchets absent
9i-c. D-LEm II.6.15, pp. 212-213 Galliarda Gregorij: Huwet 33
German tablature
time signature absent
7th course tuned to F
three strains of 8, 8 & 12 bars
4/4 f4 instead of f3
5/4 h4 instead of i3
5/5 k1 instead of i1
6-7, 7-8 & 27-28 bar lines absent
10/4 a6 absent
14/1 a6 added
15/1 c5 absent
18/5 scribe changed c4 to a6
19/3 4 dots below cipher probably indicating stopping h1 with left hand little finger
28/1 semibreve with fermata above instead of fermata
9i-d. Rude 1600, sigs. hh2r-hh2v 97
[index: Gagliarda G. H.]
time signature absent
7th course tuned to F
three strains of 8, 7 & 12 bars
3-4, 13-14 & 23-24 bar lines absent
23/4 crotchet instead of quaver
25/7 c5 instead of a5
9i-e. D-BAU 13.4°.85, f. 35r Galiarda
7th course tuned to F
three strains of 8, 8 & 11 bars
5/4-6 quavers instead of crotchets
6/1 to 7/6 minims instead of crotchets
8/8 minim absent
16/1 d2 instead e2
27/8 minim instead of fermata
9i-f. D-LEm III.11.26, f. 8r Galliarda Gregorij
fragment of first 4 bars only
8th course in D, 10th in Bflat, 12th in G & 13th in F
one strain of 8 bars
2/8 crotchet displaced a note to the right
5-8 absent and reconstructed
9i-g. LT-Va 285-MF-LXXIX, f. 42r untitled NB
time signature for common instead of triple time
three strains of 8, 8 & 12 bars
7/5 c3a6 instead of a3c5
28/2 minim instead of fermata
9i-h. D-KNh R.242, f. 129v Galliarda Gregoris
common instead of triple time signature
7th course tuned to F
three strains of 8, 8 & 10 bars
2/2-7 & 6/2-3 quavers absent
2/8 crotchet instead of minim
10/4 d6 absent
15/2 d6 instead of d5
18/2 a1 instead of a3
18/6 c3 instead of c4
21-22 bar line absent
24/1 a7 absent
26/1 fermata displaced to above double bar line
9i-i. DK-Kk Thott 841,4o, f. 110r Galliarda Anglica
fits with 9i-n below as a unison duet
German tablature
time signature absent
7th course tuned to F
three strains of 8, 8 & 11 bars
2-3 bar line absent
5/3 scribe changed c6 to a7
5/5 scribe changed a7 to c6 instead of d6
9/2 e3 instead of e4
27/4 minim instead of fermata
9i-j. LT-Va 285- MF-LXXIX, f. 66r Galliarda Dulandi
three strains of 8, 8 & 10 bars
16/4 minim absent
21/2-3 quavers absent
22/1, 23/1 & 24/1 quavers instead of crotchets
25/4 c4 absent
26/4 minim instead of fermata
9i-k. US-NHub Dep.1, f. 17r As I wente to walsinghame
time signature absent
three strains of 8, 8 & 10 bars
15-16 bar line absent
22/6 d2 instead of d3
26/5 fermata above minim instead of fermata
9i-l. GB-Cu Dd.2.11, f. 29r untitled
time signature absent
three strains of 8, 8 & 10 bars
5/4 a3 crossed out
19-20 bar line absent
21/5 a2 washed out
22/5 c2 washed out
9i-m. LT-Va 285-MF- LXXIX, f. 24r Johan Doulandt Gailliard
7th course tuned to F and 8th to D
three strains of 7/8, 8/7 and 10 bars with divisions on the first two
rhythm signs ambiguous (combination of mensural minim signs and flag style crotchets and quavers)
2/1-7 minim 6 crotchets instead of crotchet 6 quavers
3/3 h1 and h6 horizontally separated instead of vertically aligned
3-4 to 5-6, 8-9 to 14-15, 16-17, 17-18, 19-20 to 21-22, 23-24 to 29-30 & 31-32 to 39-40 bar lines absent
4/2-7, 9/5 to 21/12 & 23/1 to 30/4 crotchets instead of quavers
6/4 e5 instead of a1
6/6 d3 absent
7/8 crotchet instead of minim
7-8 single instead of double bar line
8/5 b3 instead of b4
8/11 a2 added
11/1 c4a6 instead of b3d6
12/2 f1 absent
13/between 8-9 blank stave with Nihil deest written through it
14/5-8, 25/9, 26/9 & 39/4-7 quavers instead of crotchets
14/6-7 a6-c6 instead of a8-c8
14/between 7-8 d6 added
17/1 minim absent
20/2 a2 vertically instead of horizontally aligned with previous c5
20/8 d3 absent
21/10 c6 vertically instead of horizontally aligned with previous a2
22/2 minim instead of semibreve
22-23 double bar line absent
23/3 a3 beneath following d1 instead
24/4-7 a3 instead of b3-d3-a2-c2
26/2 c4 vertically instead of horizontally aligned with following f1
30/4 e2 instead of c2
30/6 a7 instead of a8
32/1 & 34/1 c5 horizontally instead of vertically aligned with c1
34/between 1-2 c4 added
36/2-3 crotchets instead of quavers
37/6-7 f1-c2 instead of d1-c1
39/1 h6 horizontally instead of vertically aligned with h1
40/1 m1 instead of n1
40/between 8-9 a1-e2 added
40/8 a2c3a6 absent
9i-n. D-Ngm 33748/I, ff. 69v-70r (Galiarta Zasij) Tertius Modus
fits with 9i-i above as a unison duet
7th course tuned to F
three strains of 8, 8 & 11 bars
1/1 to 2/8 & 4/1 to 8/8 semiquavers instead of quavers
8/9 crotchet instead of minim
10/5 c5 absent
10-11 & 22-23 bar lines absent
12/1 quaver instead of crotchet
14/1 to 16/8 quavers absent
15/5 d4 instead of d5
16/4 c2 absent
16/5 c2 instead of e2
27/9-10 rhythm signs absent with fermata above double bar line
9ii. in C minor: missed D-Dl M 297, pp. 144-145 Galliard
Two settings are in C minor neither ascribed to Huwet.
9ii-a. D-K K16a6745qu., f. 12r Galiarde
three strains of 8, 8 & 10 bars
8/1 d2c3a4 instead of d3c4a5
9/4 d5 added
12/2 c3 crossed out
16/1 crotchet instead of dotted crotchet
21/4 dot under previous a3 instead
25/6 a5 instead of a6
26/8 minim instead of fermata
9ii-b. I-Gu M.VIII.24, ff. 119v-120r Gagliard Angl(ica)
three strains of 8, 8 & 10 bars
7/6-11 semiquavers instead of quavers
10/3 minim absent
12/3-6 crotchets absent
21/3 & 23/3 c2 instead of b2
23/1 a5 instead of c5
26/4 fermata instead of minim
27-28 bar line absent
[additional: 9ii-c. D-Dl M 297, pp. 144-15 Galliard]
9iii. in F minor:
Nine settings are in F minor of which two are ascribed to Huwet.
9iii-a. A-Lla 475, f. 95r Galliarda Englessa
German tablature
time signature absent
three strains of 8, 8 & 10 bars
24 bar omitted and inserted in the bottom margin
26/4 minim instead of fermata
9iii-b. D-B 40141, f. 61r Galliarda Gregorij
common instead of triple time signature
7th course tuned to F
three strains of 8, 8 & 10 bars
3/1&3 d2 instead of b2
4/2 crotchet instead of minim
5/1 d3 instead of b3
6/1 a4 absent
7/5 scribe changed c2 to d2
8-9 single instead of double bar line
9/1-4, 22/2-5 & 14/2 to 15/6 crotchets absent
10/4 a3 added
13/between 5-6 d5 added
14/4 a3 instead of a4
15/1,3&5 bass notes to right of treble notes instead of vertically aligned
16/2 semibreve absent
18/1 d2 instead of b2
18/2 a5 vertically aligned with previous chord
18/3 d2a4 instead of a1b2
22/3 a4 crossed out
22/5 a3 crossed out
23/1 b3 instead of d3
23/4 minim absent and d2b6 instead of a2d6
26 rhythm signs absent
9iii-c. D-BAU 13.4°.85, f. 33r Galiard
7th course tuned to F
three strains of 8, 8 & 10 bars
2/4 d2 instead of b3
5/1, 13/1, 20/1 & 21/1 crotchets instead of dotted crotchets
5/3, 13/3 & 20/3 crotchets displaced 3 notes to the right
7-8, 12-13, 21-22 & 25-26 - bar lines absent
10/2 a7 absent
11/3 minim displaced 2 notes to the left
16/2 & 18/2 crotchets instead of minims
22/3 to 25/6 crotchets absent
9iii-d. D-LEm II.6.23, ff. 36v-37r untitled
all rhythm signs absent
common instead of triple time signature
7th course tuned to F
three strains of 10, 9 & 10 bars
bar lines absent except 3-4, 6-7, 20-21 (but displaced a note to the right), 21-22 and double bar lines
4/between 4-5 a1 added
6/1 f1 absent
14/5 minim a1b2d3 absent
22-19 absent and reconstructed from 9iii-c
9iii-e. D-B N 479, ff. 62v-63r Galliard
7th course tuned to F, 8th to E and 10th to C flat
three strains of 8, 8 & 12 bars with divisions on first other playing indications that are hard to read
double bar lines absent
6-7, 13-14 & 23-24 bar lines absent
36/2 minim instead of fermata
9iii-f. D-Ngm 33748/I, f. 68v Galiarta Zasij
7th course tuned to F
three strains of 8, 8 & 10 bars
3/1 & 4/1 d2 instead of b2
3/3 d2d5 instead of b2d4
5-6 & 24-25 bar lines absent
7/5 c5 instead of a5
10/4 b6 instead of c6
11/1 c3 instead of b3
14/2 to 15/6 crotchets absent
19/4 a5 crossed out
21/5 a4 absent
24/4 & 26/1 minims absent
26/2 fermata above semibreve instead of fermata
9iii-g. D-Ngm 33748/I, f. 69r Galiarda Secundus Modus
7th course tuned to F
three strains of 8, 8 & 10 bars
rhythm signs half-length except at 1/1-2, 3/1-2, 5/1-2, 20/1-2, 22/1-2
5/4 a5 crossed out
16/3 c3 instead of d3
18-19 bar line absent
21/1 a2 instead of b2 and d6 crossed out
24/3 minim absent
26/1 rhythm sign absent with fermata above double bar line instead of fermata
9iii-h. A-SPL KK35, p. 37 Galliarda / Zas.
7th course tuned to F
three strains of 8, 6 & 11 bars
rhythm signs half-length or missing except at 1/1-2, 3/1-2, 4/1, 8/1 & 15/1-2,
12/1 a6 instead of a7
13/1 b5 absent
14-15 single instead of double bar line
20/1 to 24/3 rhythm signs absent
9iii-i. D-Ngm 33748/I, f. 14v Gall(iard) Gregorj
7th course tuned to F
three strains of 8, 8 & 12 bars
2/3-4 d4a7 instead of d4-a7 (that is vertically instead of horizontally aligned)
7/4-5 c2d3 instead of c2-d3 (that is vertically instead of horizontally aligned)
8/1 crotchet instead of dotted minim
14/7-9 quavers instead of crotchets
17/4 & 26/7 crotchets displaced a note to the left
28/2 + in a circle instead of fermata
>28 single instead of double bar line
9iv. in D minor:
Seven settings are in D minor of which two are ascribed to Huwet and three to Kühne. Only 9iv-g follows all three strains of Huwet's galliard. The other six begin with the strain based on the Walsingham tune but have different second and third strains. It is possible that the D minor version is a pastiche by Khüne of Huwet's and other galliards.
9iv-a. D-Dl 1-V-8, f. 51r Gagliarda Tobiae
German tablature
7th course tuned to D
three strains of 8 bars
16/4 minim absent
24/1 a6 instead of a7 and fermata absent
9iv-b. D-LEm II.6.15, p. 187 Galiarda Tobiae Kuhnen
German tablature
time signature absent
7th course tuned to D
three strains of 8 bars with divisions
4/5 d4 instead of e4
8/1 dotted semibreve absent and c2 instead of e2
9/1 & 17/1 crotchet instead of dotted crotchet
10/6 a4 instead of c4
13/1 c2c3e5 instead of c1c2e4
13-14 bar line absent
14/5 a7 instead of a5
14/6 a7 added
15-16 rhythm signs absent
17/3-6 crotchets absent
23/6 c3 instead of f2
24/1 f2 instead of e2
9iv-c. Fuhrmann 1615, pp. 110-111 Galliarda .3. T. K. [header: Galliarda T. K. .3.]
time signature absent
7th course tuned to F and 8th to D
three strains of 8, 8 & 10 bars with divisions on first two
8/1 semibreve minim instead of dotted semibreve
8-9 single instead of double bar line
11/5 a1 instead c1
14/1 e3 instead of e4
16/7-8 c5-a5 instead of e5-c5
23/1 a9 (//a) instead of a8 (/a)
25/between 1-2 a1-d2-a1-c1 added
30/between 3-4 d2-c2 added
35-36 & 36-37 bar lines absent
40/1 a4 added
40/4 fermata absent
9iv-d. D-Ngm 33748/I, f. 2v Galliarda Gregorij
7th course tuned to F, 8th to D and 10th to C
three strains of 8, 8 & 11 bars
2/3 & 25/2-3 minims absent
8/1 dotted minim instead of minim
10/1-2 & 15/1 quavers instead of crotchets
13/1-4 quaver 2 crotchets quaver instead of crotchet 2 quavers crotchet
18/5 scribe changed c2 to d2
19/7-8 & 23/2-5 crotchets instead of quavers
26/6 crotchet absent
27/1-2 rhythm signs absent
9iv-e. Rude 1600, sig. gg6v 93 [index: Galliardae Gregorij Huberti variatio prima]
time signature absent
7th course tuned to D
three strains of 8, 8 & 7 bars
1/5 c5 instead of e5
3-4 & 15-16 bar lines absent
4/10 & 5/4 crotchets instead of quavers
5/6 & 14/4-5 quavers instead of crotchets
7/3, 12/4, 15/5 & 21/1 a7 instead of d7
11/4 h5 added
11/6 k4 instead of i4
12/1 i3 instead of k4
18/7 c3 instead of e3
19/1 a3 instead of a2
23/8-9 h1f1 absent
9iv-f. Rude 1600, sigs. gg6v-hh1r untitled
[index: Variatio secunda]
time signature absent
7th course tuned to D
three strains of 8 bars
7-8, 14-15 & 18-19 bar lines absent
14/1 c3c4e5 instead of e3e4c6
18/3 crotchet instead of quaver
21/1 a7 instead of d7
9iv-g. D-B 4022, f. 47r untitled
7th course tuned to F and 8th to D
three strains of 8, 8 & 11 bars
1/5 c5 instead of c6
between 9-10 bar of c2a6-a2-d3a4c6 crossed out
11/4 d5 instead of d6
13/3 a4 instead of a5
21/5 scribe changed a2 to d2
27/3 rhythm sign absent with fermata above double bar line instead of fermata
9v. for cittern
One setting is arranged for 4-course chromatic cittern in Italian tuning
GB-Cu Dd.14.24, ff. 45v-46r untitled
time signature absent
three strains of 8, 8 & 10 bars with divisions on first two
6/1 & 30/5 a4 crossed out
13/6 h1 instead of g1
13/8 scribe changed i1 to l1
20-21 double instead of single bar line
21/3 i1 added
22/1 & 4 f2 crossed out
22/5 a4 added
22-23, 28-29, 33-34 & 38-39 bar lines absent
23/6 scribe changed a2 to f3
24/1 scribe changed a2 to h3
25/1 a4 absent
27/2 d2 instead of f2
28/6 scribe changed f1 to d1
37/2 c4 crossed out
42/2 semibreve instead of fermata
9vi. A different galliard on the Walsingham tune by John Dowland
GB-Cu Dd.5.78.3, f. 37r J:D: - DowlandCLM 31
7th course tuned to F
three strains of 8 bars
5/6 d2 instead of a2
5-6 & 15-16 bar line absent
6/6 a3 instead of a4
7/6 c5 crossed out
11/5 a5 instead of a4
17/4 c3 instead of b3
24/2 semibreve with fermata above double bar line instead of fermata
Keyboard cognates: Antwerp MS, ff. 16v-17r Galliard Greorg; D-ZW Hs 42, p. 122 Galliard Gregorij; I-Tn Foà 7, ff. 82v-83r Gagliarda Englese; S-Sk 1, f. 33r, Galyard Imperial
10. Galliard
The ascription presumably refers to Gregorius Huwet, but this galliard is a parody of John Dowland's King of Denmark Galliard, a simple continental version of which is included as no. 10b.
10a. D-LEm II.6.15, p. 198 Galliarda Gregorij 14
German tablature
time signature absent
7th course tuned to F and 8th to C
three strains of 8 bars
8/1 & 12/1 semibreves instead of dotted semibreves
13-16 absent and reconstructed editorially
22/1 minim instead of dotted minim
24/1 semibreve instead of fermata
10b. LT-Va 285-MF-LXXIX, f. 22v Galliarda Anglic: Dulandt DowlandCLM 40 King of Denmark’s Galliard
7th course tuned to D
three strains of 8 bars
3/1-4 dotted minim 3 crotchets instead of minim 2 crotchets minim
4/2 minim instead of semibreve
5 bar omitted and inserted above in a different hand
7/1 a7 absent
8-9 single instead of double bar line
10/1 minim instead of dotted minim
11/3-6 crotchet 2 quavers crotchet instead of dotted crotchet quaver 2 crotchets
15/7 quaver a note to the right
21-24 absent and substituted from the variatio on f. 23v of the same source
11. Galliard
The two sources of this pavan are both ascribed to Huwet, However, it is concordant with John Dowland's First galliard (DowlandCLM 22), a version of which is included as no. 11c. Although concordant throughout the three strains, the two setting differ from each other and from the Dowland setting in many details of figuration.
11a. D-LEm II.6.15, p. 235 Galiarda Gregorij
German tablature
time signature absent
8th course tuned to D
three strains of 8, 12 & 7 bars
8/8-9, 15/3, 15/6 & 16/3 quavers instead of crotchets
16/3-4 f1-c4 instead of c4-a4
19/2-3 minims instead of crotchets
19-20 bar line absent
26/4-5 & 27/2-3 crotchets instead of quavers
27/9 fermata absent
11b. Rude 1600, sigs. hh2v-hh3r 98 [index: Gagliarda]
time signature absent
7th course tuned to F
three strains of 8, 11 & 7 bars
14-15 bar line absent
11c. GB-Cu Dd.2.11, f. 56r Untitled
DowlandCLM 22 Dowland’s First Galliard
time signature absent
three strains of 8, 8 & 10 bars
8/1 semibreve instead of dotted semibreve
10-11 & 17-18 bar lines absent
12/2 scribe changed e1 to c1
13 scribe changed crotchet c1a2a3b4c5 2 quavers b3c4-d3 4 crotchets a2b4-a3-b3-c4 to dotted crotchet c1a2a3b4c5 quaver c4 2 crotchets a3-b4 minim a1a2c3c3c3a6
16/3 scribe changed a1 to a2
17/1 b3 crossed out
17/4 & 18/4 scribe changed d6 to e6
18/2 b3 crossed out
26/1 semibreve with fermata above double bar line instead of fermata
12. Galliard
The ascription to this galliard from the Loss lute book probably refers to Gregorius Huwet, but it is closely concordant with John Johnson's Delight galliard, a version of which is included as no. 12b. Below the complete galliard is an incomplete version headed vel sic 'or thus' indicating an alternative reading, and at the end of the tablature is written Reliqua ut supra ut 'the rest as above' followed by a cross in a circle indicating continuing at the same sign which is found at bar 24 of the complete version.
12ai. D-Dl 1.V.8, f. 46v Gagliarda Gregor:
three strains of 8/7, 8 & 8 bars with divisions
8/1-2 & 39-40 double bar lines absent
18-19 bar line absent
23/1 & 31/1 semibreve instead of dotted semibreve
24/1 cross in a circle below stave
47/1 semibreve instead of fermata
12aii. D-Dl 1.V.8, f. 46v vel sic / Reliqua ut supra ut +
two strains of 8/7 & 8 bars
8/1-2 double bar line absent
22-23 bar line absent
12b. GB-Lbl Eg.2046, f. 32r Delight galyerd by Mr (John) Johnsonn - JohnsonB 6
three strains of 8 bars with divisions
8/2-3 double bar line absent
24-25, 32-33 & 40-41 single instead of double bar line
34-35 bar line absent
48/8 fermata above minim instead of fermata
13. Galliard
This galliard is a parody of John Dowland's Earl of Essex Galliard, a version of which is included as no. 13f. Only one version bears an ascription, which probably refers to Gregorius Huwet. Of the many continental cognate versions, no. 13a-e seem to be based on the same cognate setting.
13a. D-B 40141, f. 239r Galliarda Gregorii
German tablature
three strains of 8 bars
4/1 fermata above dotted semibreve
24/1 fermata above semibreve instead of fermata
13b. D-KNh R.242, ff. 136v-137r Galliarda anglica
vel ultima sic
common instead of triple time signature
four strains of 8 bars with divisions on fourth
4/1 semibreve instead of dotted semibreve
6-7 & 17-18 to 31-32 bar lines absent
15/2 d2 instead of g2
18/6 c4 absent
21 bar absent
24/1 minim instead of dotted semibreve
25/1-2 & 35/1-2 2 crotchets instead of dotted crotchet quaver
27/1, 29/1, 31/1, 34/1, 36/1, 37/1 & 39/1 crotchet instead of dotted crotchet
32-33 title Galliarda anglica and vel ultima sic 'or end thus' written here followed by division on third strain below
34/2 quaver b2 absent
36/2 d2 absent
37/3-6 crotchets absent
38/2-3 quavers absent
40/1 rhythm signs absent
13c. D-Ngm 33748/I, f. 65v Galiarta Pipers
three strains of 8 bars
19/3 & 21/3 crotchets displaced a note to the right
24/2 dotted minim instead of fermata
13d. D-BAU 13.4o.85, p. 31 Galiarda Pipers
three strains of 8 bars
2/1 minim instead of dotted minim
11/2 d2 instead of b2
13/3 c2 instead of b2 and crotchet absent
13/3-4 & 23/3-4 bar lines added.
13e. Fuhrmann 1615, p. 121 Galliarda 12.
three strains of 8 bars
2/1 minim instead of dotted minim
9-10 & 22-23 bar lines absent
14/2-4 quavers instead of crotchets
end Verte, habebis variationem secundam which refers to the Lachrimae setting by Valentin Strobel on p. 122
13f. Barley 1596, sig. B4v A Galliard made by I(ohn) D(owland) - orpharion
DowlandCLM 42 Earl of Essex Galliard
time signature absent
22/4 - c4 absent
14. Galliard
The ascription to this galliard could refer to Gregorius Huwet, but if it was composed by him the form of three strains of four bars and simple figuration seem to represent an incomplete and very poor setting.
D-LEm II.6.15, p. 199 Galliard: Gregorij Ansini 16
German tablature
7th course tuned to F
three strains of 4 bars
2/6-7 crotchets absent
4/1 & 8/1 minim instead of dotted semibreve
10-11 bar line absent
11/1-2 crotchets instead of minims
12/1 minim instead of fermata
15. Galliard for instrumental ensemble
No lute setting of this galliard by Huwet has so far been identified and the lack of the cantus part book of the setting for instrumental ensemble à4 is a deterrent to attempting a reconstruction of a lute solo version.
Hagius Altus: sig. Ccc4r XXXVIII. à 4 Gregorius Huvvet. Altus. / Galliarda. [index: 38. Galliarda]
Hagius Tenor: sig. D2r XXXVIII. à 4 Gregorius Huvvet. Tenor. / Galliarda [index: 38. Galliarda]
Hagius Bass: sig. Ccc3v XXXVIII. à 4 Gregorius Huvvet. Basis / Galliarda [index: 38. Galliarda]
Appendix
Appendices 1-3 and 8 are anonymous fantasias and a fuga that incorporate sequences of quavers above bass melodies in minims similar to those found in Huwet's fantasia no. 1.
App. 1. Fantasia
D-Hs ND VI 3238, pp. 102-103 Fantasia
7th course tuned to F
12/1 & 3 a3 instead of a4
between 15-16 bar 16 bar duplicated but with crotchet and 3 quavers
18/2 c3 instead of b3
32-33 bar line absent
44/8 a2 instead of c2
45/1 a5 added
48/7-8 a2-d2 instead of d2-a2
51/7-8 a1-d1 instead of d1-a1
55/5 c3 instead of c4
69/1 crotchet instead of dotted crotchet
70/1 minim instead of fermata
App. 2. Fantasia
D-LEm II.6.15, pp. 54-55 Fantasia
German tablature
7th course tuned to F
1/9 b2 instead of d3
2/5 minim absent
2/7 quaver a note to the left
3/1-4 crotchets absent
4/5-6 quavers instead of crotchets
7 to 25 bar lines every 2 instead of 4 minims
8/8 d1 instead of d2
13/5 a3 instead of b3
19/1 d1 changed to d2
25/1-9 9 quavers instead of crotchet 6 quavers crotchet fermata
App. 3. Fantasia
App. 3a. Mertel 1615, p. 36 Praeludi(um) 80
time signature absent
7th course tuned to F
no changes
App. 3b. B-D 4022, f. 43r untitled
7th course tuned to F
18/7 c3 instead of c2
20/4 a4 instead of a5
28/2 rhythm sign absent and fermata above double bar line
App. 3c. PL-Kj 40641, ff. 4v-5r Fantazia
time signature absent
7th course tuned to F
6-7, 16-17, 21-22, 29-30, 43-44 & 50-51 bar lines absent
43/2-6 a5-c5-e5-a5-e5 absent
47/1-4 a4-c5-e5-a4 absent
54/between 1-2 a4 washed out
cf. Robinson 1603, sigs. F1v-F2r A Fantasie for two Lutes. All in Vnisons - lutes I & II
Appendices 4-7 are the remaining four compositions ascribed to Thobias Khüne, in addition to nos. 6d, 9iv-a/b/c above.
App. 4. Fuga
D-Dl 1-V-8, ff. 42r-42v Fuga sup(er) Verleih uns friedt Tobiae Khühn
Model: Martin Luther's hymn Verleih uns Frieden gnädiglich
Verleih uns Frieden gnädiglich,
Herr Gott, zu unsern Zeiten.
Es ist doch ja kein andrer nicht,
der für uns könnte streiten,
denn du, unser Gott, alleine.
German tablature
7th course tuned to F and 8th to D
3/1 crotchet instead of dotted minim
16/13 d2 added
17/5 a8 instead of a7
18-19, 28-29, 40-41, 66/67 & 67-68 bar line absent
22/6 crotchet instead of minim
36/1 f2? instead of e2
48/13 c3 instead of b3
49/7-10 c-a1a2-c2-a3 instead of
a1a2b3a6-a3-b3-c6
App. 5. Pavan
App. 5a. Rude II 1600, sigs. hh3r-hh3v 100
[index: Pavana T. K.]
time signature absent
7th course tuned to D
three strains of 8 bars
3/6 c6 instead of a6
8/6 minim displaced a note to the left
12/7-8 crotchet and quaver displaced a note to the left
12-13 bar line absent
14/12-14 minim 2 crotchets instead of crotchet 2 quavers
20/3 & 6 crotchets displaced a note to the left
App. 5b. Rude II 1600, sigs. gg1v-gg2r 83
[index: Padoana]
time signature absent
7th course tuned to D
three strains of 8 bars
3/6 crotchet instead of dotted minim
3-4 & 19-20 bar lines absent
App. 6. Galliard
Fuhrmann 1615, p. 111 Galliarda.
[header: Galliarda T. K. 4.]
time signature absent
7th course tuned to F
two strains of 10 & 16 bars with divisions on first
5/3-4 crotchets instead of minims
6-7 bar line absent
7/5 d5 instead of d4
9/1 c4 instead of e4
9/2 d4 instead of c4
10-11 single instead of double bar line
23/6 a2 instead of a1
27/1 b6 instead of a6
30/6 a5 instead of a4
31/2 d4 instead of d5
App. 7. Galliard
Fuhrmann 1615, pp. 118-119 Galliarda. 9.
[header p. 118: Galliarda incerti Authoris. 9.
header p. 119: Galliarda T. K. 9.]
time signature absent
7th course tuned to F and 9th to C
three strains of 8 bars with divisions
8/1 dotted crotchet instead of crotchet
11/1 d2 instead of d3
16-17, 24-25, 32-33 & 40-41 single instead of double bar lines
22/1 d4 instead of d3
26/5 d1 absent
33/4 g4 instead of g3
36/4 crotchet a1 absent
37/1 dotted minim instead of minim
App. 8. Fuga
D-Kl 4o 108/I, ff. 9v-11r Fuga
time signature absent
bar lines absent
7th course tuned to F and 8th to D
28/1-2 a4-c4 instead of c4-a3
42/3 h6 instead of h5
47/1 crotchet instead of quaver
48/2-4 e3-c3-a3 instead of e4-c4-a4
49/10 a5 below a1 two notes to the left
51/1 quaver instead of crotchet
Bibliography
Sources for solo lute unless otherwise stated.
Manuscripts
Antwerp MS – Antwerp museum Klank van de Stad: harpsichord manuscript dated 1638 discovered by curator Karel Moens: see Geluit-Luthinerie Yearbook 2010, pp. 14-15 Godelieve Spiessens 'Huwet op de toetsen'.
A-LIa 475 – Linz, Oberösterreichische Landesbibliothek, Ms. hs. 475: Michaël Eijsertt of Nürnberg lute book, c.1610.
A-SPL KK35 – Lavanttal, Stiftsbibliothek St. Paul, Kunstkabinett MS KK 35: pages of music in French tablature copied early seventeenth century and bound into a copy of Tirolensium Principum Comitum ... Eicones (Augsburg, Joannes Praetorius 1599), Facsimile and modern edition: Dieter Kirsch and John H. Robinson Die Lautentabulatur im Stift St. Paul im Lavanttal (Klagenfurt am Wörthersee, Verlag des Geschichts-vereines für Kärnten 2018).
B-Bc 26.369 – Bruxelles, Bibliothèque du Conservatoire Royal de Musique de Bruxelles, Ms. Littera S1. 26.369, c.1620. Facsimile edition: Thesaurus Musicus Nova Series A/10, Recueil de pièces de luth en tablature italienne XVIIe siècle (Bruxelles: Editions Culture et Civilisation 1980).
B-Br II.275 – Bruxelles, Bibliothèque Royale de Belgique, Mus. Ms.II.275: 'Questo libro e'di Raffaello Caualcanti' dated 1590.
D-B 4022 – Berlin, Staatsbibliothek Preußischer Kultur-besitz, Ms. 4022 [formerly Stadtbibliothek, Danzig], c.1615-20. Facsimile edition: Lübeck, Tree Edition 2013.
Online facsimile: http://digital.staatsbibliothek-berlin.de/werkansicht?PPN=PPN618787879&PHYSID=PHYS_0001&DMDID=
D-B 40141 – Berlin, Staatsbibliothek Preußischer Kulturbesitz, Mus. ms. 40141: Johannes Nauclerus lute book, c.1607-20. Facsimile edition: Glinde, Jarchow Verlag 2010.
D-B N 479 – Staatsbibliothek zu Berlin, Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv, N. Mus. ms. 479: Wolfgang Hoffmann von Grünbühel lute book, copied c.1619-1620.
D-BAU 13.4°.85 – Bautzen, Stadtbibliothek, Druck 13.4o.85, c.1620, manuscript additions to a copy of J.-B. Besard Thesaurus Harmonicus (Köln 1603).
D-Dl 1.V.8 – Dresden, Sächsische Landesbibliothek, Ms. Mus. 1-V-8 [formerly Ms. Mus. B.1030], Johann Joachim Loss lute book, c.1620; manuscript destroyed in 1945 but photographs owned by Franz Julius Giesbert recently rediscovered by Matthias Schneider.
D-Dl M 297 – Dresden, Sächsische Landesbibliothek, Handschriften-abteilung, MS M 297 (formerly M 148): Jena student B.K.K.S. lute book, copied in French tablature and dated 1603.
D-Hs ND VI 3238 – Hamburg, Stadt- und Universitäts-bibliothek, Ms. ND VI 3238 (olim M B/2768): Ernst Schele lute book, dated 1619. Facsimile edition: Glinde, Jarchow Verlag 2004.
D-K K16a6745qu. – Köln, Universitäts- und Stadt-bibliothek, Ms. K 16a 6745qu, c.1605.
D-Kl 4o Mus.108/I – Kassel, Murhard'sche Landes-bibliothek, Ms.4° Mus.108/I: Victor Montbuysson/ Princess Elisabeth von Hessen lute book, c.1611. Facsimile edition: Axel Halle(ed.) Kassel, Bärenreiter 2006. Online facsimile: https://orka.bibliothek.uni-kassel.de/viewer/image/1484138262748/1/
D KNh R.242 – Köln, Staatliche Hochschule für Musik, Ms. R.242: Elÿsabeth Romers het Lÿt bock, c.1600.
D-LEm II.6.15 – Leipzig, Musikbibliothek der Stadt Leipzig, Ms.II.6.15, c.1619.
Facsimile edition: Lübeck, Tree Edition 2001.
D-LEm II.6.23 – Leipzig, Musikbibliothek der Stadt Leipzig, Ms.II.6.23: Johannes Fredericus lute book, early 17th century.
D-LEm III.11.26 – Leipzig, Musikbibliothek der Stadt Leipzig, Ms.III.11.26, c.1625-30.
Facsimile edition: Lübeck, Tree Edition 1998.
D-Ngm 33748/I – Nürnberg, Bibliothek des Germanischen Nationalmuseums, Ms.33748/I, c.1610.
Modern edition: Helmut Mönkmeyer (ed.) Die Tabulatur, Heft 23-7, Nürnberger Lautenbuch Handschriftliche Tabulaturensammlung 1600 (Hofheim am Taunus, Verlag Hofmeister 1970).
Online facsimile: http://dlib.gnm.de/item/Hs33748-1/html
D-ZW Hs 42 – Zweibrücken, Bibliotheca Bipontina, Handschrift 42: organ tablature, c.1620.
DK-Kk Thott 841,4o – København, Det Kongelige Bibliotek, Ms. Thott 841.4°: Petrus Fabritius lute book, c.1604-8.
Facsimile edition: Glinde, Jarchow Verlag 2013.
GB-Cu Dd.2.11 – Cambridge, University Library, Ms.Dd.2.11: Mathew Holmes' first lute book, c.1590-95.
Facsimile edition: Albury, The Lute Society 2010.
Online facsimile: https://cudl.lib.cam.ac.uk/collections/music/1
GB-Cu Dd.9.33 – Cambridge University Library, Ms. Dd.9.33: Mathew Holmes. third lute book, c.1600-1605.
Online facsimile: https://cudl.lib.cam.ac.uk/collections/music/1
GB-Cu Dd.14.24 – Cambridge University Library, Ms. Dd.14.24, Mathew Holmes book of cittern solos and consort parts, c.1590-1600.
GB-Gu Euing 25 – Glasgow, University Library, MS Euing 25 (formerly R.d.43): Euing lute book, c.1600.
GB-Lbl Eg.2046 – London, British Library, Egerton MS. 2046: Jane Pickeringe lute book, c.1616-50.
Facsimile edition: Clarabricken, Boethius Press 1985.
I-BDGchilesotti – Bassano del Grappa, Museo Biblioteca Archivio (Biblioteca Civica), lute manuscript copied in Bavaria c.1590s and formerly in the library of Oscar Chilesotti, whereabouts now unknown. Modern edition of a selection transcribed for guitar in Oscar Chilesotti Da un codice Lauten-Buch del Cinquecento (Leipzig, Breitkopf & Härtel 1890); the same selection transcribed into lute tablature in Dick Hoban (ed.) Oscar Chilesotti’s Da un Codice Lautenbuch, in tablature (Fort Worth, Lyre Music, 1994).
I-Gu M.VIII.24 – Genova, Bibliteca Universitaria, MS M.VIII.24: manuscript additions to a copy of Jean-Baptiste Besard, Thesaurus Harmonicus (Köln, 1603), c.1605.
I-Tn Foà 7 – Torino, Biblioteca Nazionale Universitaria di Torino, Raccolta Foá, MS 7: for keyboard, before 1639.
LT-Va 285 MF-LXXIX – Vilnius, Central Library of the Lithuanian Academy of Science, Ms.285 MF LXXIX: Königsberg Manuscript, c.1600-20.
Facsimile edition: Columbus, Editions Orphée 1989.
PL-Kj 40641 – Kraków, Biblioteka Jagiellońska (formerly Berlin, Peußische Staatsbibliothek), Mus. Ms. 40641, c.1620. Facsimile: Albury, The Lute Society 2000.
S-B 2245 – Skokloster, Slottsbiblioteket, Carl Gustaf Wrangels Bibliotek, 2245, lute book of Lucas Beckman Wittenbergensis Saxo Anno 1615.
S-Sk 1 – Stockholm, Library of Royal Swedish Academy, Tabulatur nr 1: Elisabeth Eysbock’s keyboard book, c.1600.
S-Sr – Stockholm, Riksarkivet, a page of tablature found in a book by Stina Karlgren, the identity of which is now not known.
US-NHu Dep.1 – New Haven, Yale University School of Music, Deposit 1 (olim Ma.21.W.632): the Wickhambrook lute book, c.1590.
Facsimile edition: Albury, The Lute Society 2008.
Prints
Besard 1603 – Jean-Baptiste Besard Thesaurus Harmonicus (Köln 1603).
Facsimile edition: Génève, Minkoff 1975/R1993.
Online facsimiles: http://daten.digitale-sammlungen.de/0008/bsb00086007/images/index.html?fip=193.174.98.30&id=00086007&seite=1 and
https://jbc.bj.uj.edu.pl/dlibra/docmetadata?id=281763&from=&dirids=1&ver_id=&lp=72&QI=
Robinson 1603 – Thomas Robinson The Schoole of Musicke (London 1603).
Facsimile edition: Amsterdam, Theatrum Orbis Terrarum 1975.
Denss 1594 – Adrian Denss Florilegium (Köln 1594).
Facsimile edition: Köln, Becker, 1994. Online facsimile:
https://search.onb.ac.at/primo_library/libweb/action/dlDisplay.do?vid=ONB&docId=ONB_alma21280271780003338&fn=permalink and http://daten.digitale-sammlungen.de/0008/bsb00082790/images/index.html?fip=193.174.98.30&id=00082790&seite=1 and
https://repository.royalholloway.ac.uk/items/3e60819b-0bbc-7b88-d565-c0e21af5ab21/1/
Dowland 1610 – Robert Dowland Varietie of Lute-lessons (London 1610).
Facsimile edition: London, Schott 1958.
Fuhrmann 1615 – Georg Leopold Fuhrmann Testudo Gallo-Germanica (Nürnberg 1615). Facsimile editions: Neuss, Junghänel, Päffgen Schäffer 1975; Lübeck, Tree Edition 2003. Online facsimiles: http://daten.digitale-sammlungen.de/0008/bsb00086008/images/index.html?fip=193.174.98.30&id=00086008&seite=1 and
https://jbc.bj.uj.edu.pl/dlibra/docmetadata?id=279561&from=&dirids=1&ver_id=&lp=21&QI=
Hagius 1616 – Conrad Hagius Newe künstliche Musicalische Intraden, Pavanen, Galliarden (Nürnberg: Abraham Wagermann [1616]). Partbooks: British Library [bassus]; Kraków, Biblioteka Jagiellońska Mus. ant. pract. H 50 [altus]; Paris, Bibliothèque Nationale, Rés. 530 [tenor]; Leipzig, Musikbibliothek, 4137 [quintus and sexta]; lost [cantus].
Mertel 1615 – Elias Mertel Hortus Musicalis Novus (Strasbourg 1615).
Facsimile edition: Génève, Éditions Minkoff 1983.
Rude 1600 – Johannes Rude Flores Musicae / Florum Musicae (Heidelberg 1600).
Facsimile edition: Stuttgart, Cornetto 2005.
Modern editions
DowlandCLM – Diana Poulton and Basil Lam (eds.) Collected Lute Music of John Dowland (London, Faber 1974/R1978 & 1981).
JohnsonB – Jan Burgers (ed.) John Johnson: Collected Lute Music (Lübeck, Tree Edition 2001).
HoveB – Jan Burgers (ed.) Joachim van den Hove: Life and Works (Utrecht, Koninklijke VNM 2013).
Ness – Arthur J. Ness (ed.) The Lute Music of Francesco Canova da Milano (1497-1543) (Cambridge MA, Harvard University Press 1970).
There are short chapters about Huwet in Poulton, Diana, John Dowland, 2. Berkeley 1982, pp. 412f., Ward, John Milton, 'A Dowland Miscellany', Journal of the Lute Society of America 10 (1977), Appendix E, pp. 94-97, and by Lenaerts, R. B. & Le Cocq, J., Artikel Huet, Gregorio, in: Stanley, Sadie & Tyrell, John (Hrsg.), New Grove Dictionary of Music and Musicians, 2. Ed., 29 Vol., London 2001, Vol. 11, p. 802. ↑
Huwet’s compositions have been listed by Spiessens, Godelieve, 'De Antwerpse luitkomponist Gregorius Huet alias Gregory Howet', in: Revue Belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap 57(2003), pp. 87-111, Werklijst on p. 106. The collected lute solos were edited by Robinson, John H., Collected Lute Solos of Gregory Howet, Lübeck Tree Edition 1998. ↑
See for reference of the following citations and findings Wirth, Sigrid, „…weil es ein Zierlich vnd lieblich ja Nobilitiert Instrument ist": Der Resonanzraum der Laute und musikalische Repräsentation am Wolfenbütteler Herzogshof 1580-1625. Wiesbaden: Harrassowitz Verlag, Wolfenbütteler Abhandlungen zur Renaissanceforschung (34, 2017). ↑
Spiessens, Godelieve, Huet, op. cit., pp. 87-111. ↑
Diederich Graminaeus, Fürstliche Hochzeit so der Durchlauchtig hochgeborner Furst und Herr, her Wilhelm Herzog zu Gulick Cleve vnd Berg Graff zu der Marck vnd Ravensberg, Herr zu Rauestein & dem Durchleuchtig hochgebornen Fursten vnd hern, Anno Dni 1585, am 16. Juni, Köln 1587, copperplates No. 5, No. 6, No. 35. ↑
Adriaen Denss, Florilegium Omnis Fere Generis Cantionun Svavissimarvm, Köln 1594. ↑
Braunschweig und Lüneburg, Heinrich Julius zu, Von einem Buler und Bulerin, Wolfenbüttel, 1593, fol. 3r. ↑
Her sisters were Augusta, married to Johann Adolf of Holstein-Gottorp and Hedwig, married to the Saxon Elector, Christian II. ↑
The names Monachij Gregorium Wolfenb. and Tobias Kun. are both found in a list of celebrated German lutenists in Adam Gumpelzhaimer Gymnasma De Exercitiuis Academicorum (Strasbourg, Zetzner 1621/R1652), Partitionis Secondae / Sectio I. De Musica, p. 100. ↑
There is no evidence of Huwet’s continued service at the Düsseldorf Court. He probably was hired for the wedding festivities only. ↑
From April 1606 until August 1608, the lutenist Hans Nielsen of the Danish Court studied with Huwet. In 1610, Huwet received a payment for teaching Thobias Walter, lutenist at the Dresden Court, during his stay in Prague. ↑
Huwet’s activities as a lute teacher are suggested by the possession of lutes or citterns of several members of the ducal family. Among them were Heinrich Julius’s eldest daughter Sophia Hedwig and his youngest brother Julius August. The latter’s making a special contribution to Huwet’s wedding in June 1597 could point at a teacher-pupil-relationship. Julius zu Holstein-Schaumburg, a nephew of Heinrich Julius, who had spent most of his youth at the Wolfenbüttel court and died at his grandmother’s residence Schloss Hessen aged 16 in 1601, was lauded as an accomplished lutenist. Another sign is the high number of lutes (>20) Huwet bought at the Leipzig fairs between 1593 and 1609. ↑
In addition to buying lutes at the Leipzig fairs, Huwet was in contact with Reymann and Rude who both published some of his compositions. Reymann valued Huwet’s advisory capacity and lauded him in the preface of his Noctes Musicae in 1598, emphasizing Huwet’s contribution to a new way of tuning the two lowest courses (of an 8-course Lute in G) “diverso modo“, i.e in D and C, improving the bass sound and extending the range for making intabulations easier. ↑
The date of Huwet’s death remains unknown as church records of that time are non-extant. The last payment to him of a “Gnadengeld” by the Duke is dated June 28 1616. By the end of the year, Victor de Montbuisson had already applied for the vacancy. Huwet probably died in Halberstadt. ↑
A new Galliard, together with versions of Huwet’s fantasies, came to light through Joachim Lüdtke’s processing of scans from photographs recently discovered by Matthias Schneider of the so-called Loss Manuscript (D-Dl 1.V.8), which was destroyed in WW2. We thank Joachim for alerting us to this source and the Deutsche Lautengesellschaft as its owner for permission to publish these pieces for the first time in this edition. ↑
Dated March 21 1595, Landgrave Moritz’s letter to Duke Heinrich Julius mentions Huwet’s great accomplishments and command of madrigals and motets (Huwet is “was muteten und madrigaln zu schlagen anlangt, gar perfekt undt wohl Passiert”), see Poulton, John Dowland, p. 33-34 for the full transcript of the letter. ↑
See for instance Huwet’s appropriation of Dowland’s King of Denmark galliard (No. 10a of this edition). Huwet met King Christian IV of Denmark many times. ↑
See John Robinson: Lutezine to Lute News 116 (December 2015): More versions of Daniel Bacheler & James Harding Galliards and John Dowland No. 28, the lute music of Tobias Khüne, Lord Zouche’s March & Albert de Rippe Part 8: Fantasie No. 12. ↑
Tablature for all the lute settings of the Walsingham Tune was edited for a supplement to the Lutezine for Lute News 104 published by the Lute Society in December 2012. ↑
Ward, A Dowland Miscellany, op. cit., p. 25. ↑